Flash Gordon and the Lost Art of Escapism

As I recently stated in my review of She (1935), I will not knowingly subject myself to the current dross passing itself off as science fiction and fantasy. Thankfully, there are still plenty of older films and shows worth watching and rewatching. Last movie night, I broke out my copy of Mike Hodges’s Flash Gordon (1980), produced by the legendary Dino De Laurentiis, and it was a blast from the past, as we spilled our popcorn and sang along to Queen's unforgettable theme song.

The film is colorful, extravagant, campy, and wonderfully over-the-top. Rather than apologizing for its pulp origins, it embraces them completely, transporting us to the strange and fantastical world of Mongo, with its rival kingdoms, bizarre creatures, elaborate costumes, beautiful women, battles, daring escapes, rocket ships, and larger-than-life villains.

Max von Sydow is magnificent as Ming the Merciless, while Brian Blessed nearly steals the film with his thunderous performance as Prince Vultan. Sam J. Jones makes for an appropriately straightforward, old-fashioned hero, while the sultry Ornella Muti is unforgettable as the seductive Princess Aura. And, of course, Melody Anderson brings plenty of charm and spirit to the role of Dale Arden.

Flash Gordon is not interested in realism, cynicism, or taking itself too seriously. Nor does it berate or preach to its audience, burdening its escapist pleasures with the ideological messaging, fashionable nihilism, and calculated vulgarity so common today. It is heroic, romantic, ridiculous, imaginative, and, above all, immensely entertaining, something much of modern fantasy seems to have forgotten.

~ By Giovanni di Napoli, September 11th, Feast of Saints Protus and Hyacinth